Academy of Chamber Music

When: 05.07.2017 17:00, Where: Column Hall

Tomáš Jamník – cello

Oto Reiprich – flute 


Franz Anton Hoffmeister (1754–1812)

  • Quartet for Violin, Viola, Cello and double bass No. 4 in D major

Antonín Rejcha (17701836)

  • Wind Quintet No. 2 in E flat major, Op. 88

Franz Lachner (1803–1890)

  • Nonet F dur

The composer and publisher Franz Anton Hoffmeister (1754–1812) was merely two years W. A. Mozart’s senior. Born in Rottenburg am Neckar, at the age of 14 he went to Vienna to study law, yet after completing his professional training he decided to pursue a career in music. He founded in Vienna his own publishing house, through which he befriended Mozart, who dedicated to him his String Quartet, as well as Beethoven. A prolific composer in his own right, he was mainly known for his chamber pieces intended for home performance, particularly string quartets and quintets, works for flute, including concertos. Hoffmeister also wrote nine operas and over 50 symphonies. His quartets with double bass are highly singular, as they do not possess the accompanying basso continuo, with the instrument taking up the part of the first violin. Hoffmeister’s compositions for Norbert Duka, a double bass virtuoso of Hungarian origin, are more original owing to the leading of the individual parts than to their melodies, and all of them are written in D major. The works keep on intriguing double bass players, as well as listeners fond of Viennese Classicism.

Antonín Rejcha (17701836) was a contemporary of Ludwig van Beethoven, whom he met during the time of his studies in Bonn. A composer, sought-after educator and musicologist, he gained his initial education from his uncle, Josef Rejcha, who served as a cellist in German orchestras. Subsequently, from 1803 to 1808, he studied with Joseph Haydn in Vienna, where he made the acquaintance of other distinguished musicians. In 1808, he moved to Paris, where he would spend the rest of his life teaching and was appointed professor and, later on, director of the Conservatoire. His pupils included France’s most celebrated composers, among them Berlioz, Gounod and Franck. Rejcha was also highly esteemed as a music theorist and experimenter. He gained the greatest fame as a composer of pieces for wind instruments, which reveal a refined sense for bringing to bear their timbre qualities. Furthermore, he wrote chamber works for a variety of other configurations, symphonies, sacred music and operas. In 1835, Rejcha received the Ordre national de la Légion d'honneur and became a member of the Institut national des sciences et des arts. Wind quintets, in which he took pride, occupy a significant position in his oeuvre. They form four cycles, each containing six pieces. The first set, Opus 88, which includes the quintet that is on the programme of our concert, was premiered in 1818 in Paris to great acclaim, which served to enhance Rejcha’s prospects of being appointed a professor as the Conservatoire. Truly extraordinary works, they constitute a significant chapter in the history of chamber music. In the first half of the 19th century, wind instruments, woodwind in particular, enjoyed in France a vigorous boom, with the majority of them undergoing major structural modifications, which resulted in changing of their sound and technical qualities. The experimentation of the French instrument-makers of the time was duly reflected in Rejcha’s music itself. He wrote numerous pieces for various, often uncommon combinations of the new instruments, with the wind quintets being his mature works, deemed to have been the first of their kind.  

The German composer and conductor Franz Paul Lachner (1803–1890) was born into a musical family. He worked in Vienna and Mannheim, before assuming the prestigious post of royal Kapellmeister at the Munich court, where he would serve from 1835 and 1864. An adherent of Classicism, his career there came to a sudden end after he was eclipsed by influential champions of Richard Wagner. As a composer, he was mainly affected by Ludwig van Beethoven and Franz Schubert. During his tenure in Vienna, the young Lachner knew the latter in person, as he later on recalled: “We were the closest of friends, mornings performing for each other and discussing in depth every imaginable topic with the greatest of candour.” His Nonet in F major, however, reveals that it was influenced more by Beethoven’s Septet, Op. 20, as well as Louis Spohr’s Nonet, than by Schubert. The piece was published in 1875, yet in all likelihood it was written earlier. Lachner’s Nonet opens with a slow romantic introduction in dark registers, while the second movement is a classical minuet. The finale is the most melodically inventive and the most original in compositional terms. Although Lachner composed more than two hundred works, including operas, it is above all his chamber creations and organ pieces that have been performed up to the present day.


Oto Reiprich 

Oto Reiprich studied at the Prague Conservatory, in the class of Roman Novotný, and at the Academy of Performing Arts in Prague, under the guidance of Radomír Pivoda. Within the ERASMUS programme, he further honed his skills at the Universität für Musik und darstellende Kunst Wien, under the tutelage of Hansgeorg Schmeiser. He has garnered acclaim at competitions, and he has attended flute master classes in Payerbach and Fiss, Austria, led by internationally renowned educators (Hansgeorg Schmeiser, Pierre-Yves Artaud, Felix Renggli, Gottfried Pokorny, Anders Ljungar-Chapelo, Kersten McCall, Robert Stalmann). At the present time, he is a member of the Prague Philharmonia and the Belfiato Quintet. He has also collaborated with the Czech Sinfonietta. Since 2011, Oto Reiprich has performed as the first guest flautist with the Czech Philharmonic, and since 2016, he has been first flautist of the National Theatre Orchestra in Prague.




Hana Pelzová - director

phone: +420 721 470 558


Marek Tůma – production

phone: +420 777 243 992


Alena Svobodová – PR